A Theory of Light and Shade January 2009 Sheri Lynn

Boyer Doty
All Illustrations for a theory of light and shade are by Sheri Doty accept for Manets painting The
Railway showing an undefined light source. Before you undertake your practice of the use of light
and shade in your art you need to understand the significance that light and dark contrast has in
making a painting or drawing visually believable.

Value is the term used to describe light, gray and dark tones.
Johannes Itten wrote the contrast between light and dark is one of the most expressive and
important means of composition. Value contrast can be encountered in both colorful and noncolorful art renderings. All neutral tones from white, black and all the gray tones between are called
achromatic, meaning having no color. All tones that have some color are call chromatic. When
investigating art in all its components, you must consider the relationship of value to other art
elements, color, line texture and shape. All these elements must exhibit some value contrast in order
to remain visible.

A simple Value Scale shows figure-ground relationships

Figure-Ground is the condition in which
backgrounds tone or hue changes the visual
impact of the figure resting on it. The same hue
or value appears to be a different depending
upon the contrast of tone or hue of the
background upon which it is placed. Conversely,
two different tones or hues appear to be the
same when placed on contrasting grounds.
Each will have an impact on how believable your
art will be perceived by the viewer. Most people
have difficulty perceiving figure-ground
relationships. When the same medium toned
figure is placed on varied light and dark
backgrounds, it will be perceived to be as a
different value.
Example: When a medium gray is placed on a
near black background, the mid-gray tone
appears very light. When the same gray tone is
placed on a near white background, it is
perceived to be very dark. But when a mid gray
tone is placed on a similar value background,
the contrast is minimal. Note how the same midtone value patch looks different when placed on
backgrounds of contrasting values.

Click Image For Larger View

Chiaroscuro
Value describes volume and depth of space In Europe artists of the Renaissance were concerned
with showing depth and volume in opposition to the artists of the Middle or Dark Ages. Men of the
Renaissance considered their time period to be the Age of Reason and rebirth of artistic and
mathematical achievements. Renaissance artists manufactured the term Chiaroscuro to describe
how light and dark can imply depth and volume. The word Chiaroscuro is a combination of two
Italian words that mean light and dark. (chiaro (clear, light) + oscuro (obscure, dark) Atmospheric or
Ariel perspective was one of the artistic strategies used in the study of Chiaroscuro during the

Renaissance. (Atmospheric or Ariel perspective is covered in depth in the section Objective Color
Harmony.)

Chiaroscuro and the Illusion of creating intuitive space.

One of the most used and useful applications of value is creating the illusion of volume and mass on
a two dimensional surface. When a mass is exposed to light, a solid object will receive more light
from one side than another when that side is closer to the light source. A spherical surface
demonstrates this as an even flow tone from light to dark. A cast shadow is created when the source
of light is obstructed by the sphere. An angular surface shows sudden contrast of light and dark.

Click Image for Larger View

Intuitive Space is merely a trick the artist uses to create depth on a two
dimensional surface.
Intuitive space is merely the illusion space created by using artistic methods to trick the viewer
into seeing depth, volume and mass on a two dimensional surface. Intuitive space is sensed or felt
on a two dimensional plane. Intuitive methods of space control include overlapping, transparency,
and other applications of spatial proportion. In a Theory of Light and Shade I will show how to
create intuitive space by using Light Logic.
Light Logic refers to how light interacts with objects. Light Logic is the term Betty Edwards uses in
her book The NewDrawing on the Right Side of the Brain

Light Logic and the Rendering of Three Dimensional Objects onto a Two
Dimensional Surface.
You will make your art more believable when you keep these basics in mind.

A Light Source and Shadows

A light projected onto an object or figure creates lights, darks, and cast shadows. Your source of
light may be the sun, the moon, a light through a window or an artificial light. When several light
sources are present the light and dark tones vary and are less predictable. To simplify the study of
light and shadow in this first section, I will use only one light source.

Two Kinds of Shadows

There are two kinds of shadows that occur when
one light shines on an object, a cast shadow and a
form shadow.

Cast Shadow
When an object blocks a light source it casts a
shadow. A cast shadow is not a solid shape but
varies in tone and value. The farther a cast
shadow is from the object which casts it the lighter
and softer and less defined becomes its edges.

Form Shadow
Click Image For Larger View

A form shadow is the less defined dark side on an

object not facing the light source. A form shadow
has softer less defined edges than a cast shadow.
Form shadows are subtle shadows essential for
creating the illusion of volume, mass and depth.

The changes in form shadows require careful

observation quinting at the subject to see value
definition affected by figure-ground making value
relationships clearer.

A Light Side and a Dark Side on

Round or Circular Surfaces
When one light source is present, I was taught the
dark side is alwaysdarker than the light side of
the object and the light side is always lighter than
the dark side. Establishing a definite light side and
dark side makes round objects appear round and
defines the form of an object accurately. Use this
simple trick
to make your artwork more true to life, separalight
tones avoiding figure-ground confusion.

Click Image For Larger View

THE LIGHT SIDE IN TWO

PARTS
Highlight

Click Image For Larger View

The lightest spot or streak is where the

light strikes the subject in exactly the
middle of the light side between the
shadow edge and the edge of the
object. A highlight can be shinny and
crisp on a glass or metallic surface, or
fuzzy and muted on a dull or textured
surface.

Light middle tones

Note, to avoid confusion, always
keep the values on the light side lighter
than the values on the dark side. In
reverse, the values on the dark side
are darker than the values on the light
side. Its the middle tones on either
side that confuse the artists eye in
value relationships.

The Dark Side in Three Parts

Form Shadow in Three Parts

Shadow edge or core shadow
The edge where the light is blocked from the light
source is the darkest value on the dark side. The
core
or darkest value blends into the middle tones from
the
shadow edge on round subjects.

Dark middle tone

Click Image For Larger View

The variable values blended form the shadow

edge on the dark side. Again, the dark middle
tones are darker than any values on the light side.
The human eye can trick the brain into believing
the
lightest values on the dark side are the same as
the darkest values on the light side. If the artist is
confused about lights and darks, the rendering is
less understandable.

Reflected light
If the object being painted is sitting on a white table, the light from the table reflects back onto the
object and makes the shadow side lighter. If the object of the painting is resting by something black
or dark, the middle values will become a dark reflection. The concept also holds true when the object
of the painting is sitting on a colored surface. If the reflected light is reobject.

Cast Shadows
When the source of light is blocked by an object it
casts a shadow. The length and shape of the cast
shadow depends on the placement of the light
source. Long shadows are cast from a side light
source (as from the sun in late afternoon or early
evening), and short cast shadows are cast from
over head (as from a noonday sun). The shape a
shadow casts depends on the shape of the object
casting it and how closource is to the object.

Click Image For Larger View

CAST SHADOWS IN THREE PARTS

The vocabulary used to describe cast shadows in art come from shadow descriptions in astronomy.
The umbra, penumbra and antumbra are the three distinct names given to the description of
shadows cast by heavenly bodies. The umbra is the darkest part of a shadow considered the
absence of light. The penumbra is a lighter outer shadow where the object is only partially obscuring
the light. The antumbra is more obscure. When it is visible it seems to extend out from the penumbra
in a lighter and less distinct way.

Click Image For Larger View

Light Source, Cast Shadows and the Axis

Click Image For Larger View

Cast Shadows The Sphere

Click Image For Larger View

The Cube

Click Image For Larger View

The Cylinder and Cone

Click Image For Larger View

More on Cast Shadows

Click Image For Larger View

Too many complex cast shadows can be confusing. Such objects can be rendered by blurring the
edges.

Daylight and Cast Shadows

Cast shadows of irregular shapes and in natural

sun light are open for interpretationbecause of the
constant changing sunlight: As you work on
location, the sun will continue to advance and
change what you are drawing. Note the place you
would have the sun be positioned, and keep that
constant to avoid a confusing spread of shadows.
The nature of shadow is affected by weather,
sunlight,moonlight, or artificial light.

Multiple Light Sources or an Undefined Light source

Multiple light sources or an undefined light source minimizes the gradation of values and flattens the
sense of volume in three dimensional objects. Because of this lighting affect, artists such as Manet
painted colors in flat areas neglecting the use of one light source to create shadows. An undefined
light source causes a sense of shallow space. Some art critics believe this sense of shallow space to
have paved the way for nonrepresentational uses of value and color.

Manets Painting, The Railway shows value contrast in composition, but the sense of shallow
space is emphasized by a lack of a single light source.

Objects Have Light, Medium or

Dark Values
Objects have an allover light, medium or dark
quality. To make your representation more
believable, you should take into consideration the
light or dark value of each object. Before you
render details, block in the value characteristics of
each object. Using this strategy will save you time
and hachieve a more realistic result.

Click Image for Larger View

Value Schemes and Mood

You create a sense of mood or interest depending on
the combination of values present in a work of art. When
value contrast is limited to a small range of tonal
variations the result is one of understatement and calm.
High Key is the term used for a light value scheme. All
middle tone values are in a Medium Key range.
And Low Key refers to an allover dark toned value
scheme. Sharp value contrast evokes strong emotions
in the viewer suggesting drama or conflict. Extreme
value contrast in a value scheme refers to a style of
chiaroscuro called Tenebrism.

Click Image for Larger View

Tenebrism Violent Chiaroscuro

In the 17th century, a group of painters instituted
the so called dark manner of painting. They were
inspired by Michelangelo di Caravaggio.
Rembrandt perfected this manner of Chiaroscuro.
Tenebrism made value an instrument of strong
contrast that lends itself to a dramatic and even
theatrical style of using light and dark contrast.
The tenebrists were interested in peculiar lighting
causing mood or emotional expressionism. The
deviation from standard light conditions into
unexpected lighting locations creates unusual and
special effects. This style is used today
byphotographers.

Click Image For Larger View

The analytical study of Chiaroscuro in the art of today

Using chiaroscuro to create excitement and interest in composition is a modern concept. Artists of
the Renaissance were concerned with showing depth and volume on a two dimensional surface.
The expression of light and contrast in old and new masterpieces reveal the continued importance of
Chiaroscuro in art.

Notan
Notan is a Japanese word meaning dark-light. The principle of Notan is the interaction between
positive (light) and negative (dark) space. This interaction is confirmed by the ancient Chinese
symbol of Yin and Yang. This is represented by mirror images of one black and one white shape
revolving around a center point. The positive and negative areas make a whole through a unity of
opposites that are equal and inseparable. In Notan, opposites complement and do not conflict.

Click Image For Larger View

An understanding of Notan traditionally has been and will be a requirement for mastery of any field
of art. It enables the artist to compose a work in which all the parts relate to create a unity of visual
organization, impression, or pattern. Notan enables the artist to achieve a Gestalt or more simply
to create a design.Notan The Dark-Light Principles of Design by Dorr Bothwell and Marlys Mayfield
Lao-Tse wrote a poem that to me
simply states the Essence of Notan:
Thirty spokes meet in the hub,
but the empty space between them is the essence of the wheel.
Pots are formed from clay,
but the empty space within it is the essence of the pot.
Walls with windows and doors form the house,
but the empty space within it is the essences of the house.
The Principle:
Matter represents the usefulness
Non-matter the essence of things.
Poem taken from Johannes Ittens book Design and Form, Revised Edition
Basic Course at the Bauhaus and Later, John Westly & Sons, INC, page 13

Value as Pattern
Controlled shallow space is
illustrated by the early cubists
such as Picasso and Braques.
Their paintings are taken from
realistic subject matter and
abstracted into unified flat tonal
planes. The planes are shaded
individually with the semi-illusion
of space with no light
source. Later, each plane takes
on characteristic value combined
with other planes with the same
style of value pattern. This
produces a carefully conceived
two dimensional pattern of light
and dark values. The shallow
space develops a three
dimensional effect through the
characteristics of the advancing
and receding values.

Click Image For Larger View

Decorative Effects of Light and Dark Contrast

Artists using the decorative effects of light and dark contrast ignore the use of the conventional tools
of light logic all together. When light effects appear, it is often based on the total design of the
artwork.

Click Image For Larger View

Compositional Functions of Value

Today most artists use value as a vital tool in pictorial composition. Value contrast is an intrinsic
factor in pictorial organization, in showing dominance in design, creating two dimensional patterns,
establishing mood and producing spatial unity. The effectiveness of a work of art or design is in large
measure based on the use of value.